Music Express August/September 2013 by Hal Leonard

Student Magazine

The Magazine for Young Musicians

Also Included: Phillip Phillips Visit Uganda Pirates and Oceans Welcome Friends AND MORE!

August/September 2013 Volume 14 No. 1

Judy Goodman

For , Music Teacher at Abbey lane Elementary School Levittown, New York - Winner of the Music Express volume 14 Song Title contest!

As you listen, follow the lyrics. Sometimes the Major General sings alone, and sometimes other cast members sing together! Sometimes the music is fast—sometimes it’s slow!

Listen to Luigi’s Baton as he and Mike prepare to join the Maestro on his next listening tour.

am the very model of a modern Major General, I’ve information vegetable, animal and mineral; I know the Kings of England and I quote the fights historical, from Marathon to Waterloo, in order categorical. I’m very well acquainted too, with matters mathematical, I understand equations both the simple and quadratical, About binomial theorem, I’m teeming with a lot of news, (Hmm, I’ve got it) With many cheerful facts about the square of the hypotenuse. With many cheerful facts about the square of the hypotenuse. (3 times) I’m very good at integral and differential calculus, I know the scientific names of beings animalculous; In short in matters vegetable, animal and mineral, I am the very model of a modern Major General. In short in matters vegetable, animal and mineral, He is the very model of a modern Major General.

Words by William S. Gilbert Music by Sir Arthur Sullivan

In fact, when I know what is meant by “mamelon” and “ravelin,” When I can tell at sight a Mauser rifle from a javelin, When such affairs as sorties and surprises I’m more wary at, And when I know precisely what is meant by “Commissariat.” When I have learnt what progress has been made in modern gunnery, When I know more of tactics than a novice in a nunnery, In short, when I’ve a smattering of elemental strategy (strategy), You’ll say a better Major General has never sat a gee! You’ll say a better Major General has never sat a gee! (3 times) For my military knowledge, tho’ I’m plucky and adventury, Has only been brought down to the beginning of the century, But still in matters vegetable, animal and mineral, I am the very model of a modern Major General. But still in matters vegetable, animal and mineral, He is the very model of a modern Major General.

Listen to Luigiâ&#x20AC;&#x2122;s Baton and Mike talk about the Motown Sound.

LEARN MORE ABOUT THE HORN SECTION IN A BAND WITH THIS ONLINE VIDEO! 7

By Janet Day Have you ever wondered how the Music Express recordings were made? Who writes the music? Who sings the songs? Where does this all take place? Let’s take a walk-through from the beginning written note to the ending CD that your teacher is playing right now and see how it all fits together. A composer or arranger is given an “assignment,” much like your teacher gives you a homework assignment. He or she is given a song title to arrange or a song idea to compose. What is the difference between arranging and composing? A composition is an original song by the writer that is completely new. An arrangement is an “adjustment” of someone’s original song to make it work for the intended group of musicians. Take a look at the songs in this issue to see which ones are composed and which ones are arranged. Most often the music is composed or arranged in a notation software program like Finale, Sibelius or others, and looks like this.

Once the music is finalized, it is sent to our recording studio, Umbrella Media, in Los Angeles, California. That’s where our producer, Andy Watermen, analyzes it to determine what musicians are needed to make the recording sound the best. Then his team (his wife, Lauren, included) schedules the singers, the horn players, and the rhythm players for the recording sessions.

Now comes the fun part—the sessions! First the rhythms tracks are laid down. That means, the piano, guitar, bass and drums play their parts into separate channels of the digital recording system. Next, any additional instruments are recorded—horns, strings, extra percussion—whatever the song needs to sound its best. And lastly, the vocalists sing their parts. Andy will determine what will go into each channel, and as you can see, he has a lot of channels! 8

Next we mix the music. And by mixing, we don’t mean stirring it up in a bowl. We mean listening to each track and adjusting the volume, reverb, tuning, and instrumentation for the best sound. Andy can even adjust the tempo and the key in the mix if we want! Because Music Express is developed for students in grades K–6, we like to hear the vocalists, and we think we have the best! Don’t you agree?

When Andy is done mixing all the tracks, he organizes them into the order of the CD and creates a master disk. This comes to the Music Express offices for our editors to approve for duplication. With thousands of schools around the world subscribing to Music Express, we duplicate lots of CDs!

Your school receives the current issue of Music Express and it is delivered right to your teacher’s classroom. Imagine your teacher’s CD is the same one that is being played in classrooms all over the world, and the magazine that you are holding is being read by millions of students! Music can truly unite the masses!

WHAT DO YOU KNOW NOW? Watch the video walkth recording session and rough of the Music Express answer these questio ns. 1. What is the name of the Music Express singer hosting the walk-through? 2. What is the first gr oup recorded? 3. Name two stringe d instruments that th e guitarist Nick Brown plays? 4. What is the largest instru (the bass player) area ment in Randy’s ? 5. What is the space called that Tom, the dr ummer, plays in? 6. What country is th e pennywhistle from? 7. Why do the singers take off one side of th eir headphones? 8. How do the singers hear directions from the studio producer?

9. What song are the singers recording durin g this walk-through?

Suliman is carrying a kerosene lamp to show me the way. As I lift my head, I see other groups of hikers doing the same. The sight is mysterious and magical all at the same time.

hen I began to climb Mount Kilimanjaro in East Africa, I was so excited that I took off full speed as though I was going to make it to the top on the very first day! The trek usually takes six or seven days since, in order to make it to the top, you have to climb to 19,341 feet.

Then out of the dark stillness of this African night, I hear the most amazing sound. With deep and mournful voices, I hear all of the African guides singing. I can hardly breathe and they are actually singing!

“Polepole!” my trusted guide, Suliman said. I quickly learned that “polepole” means “slowly” in Swahili, and it was very good advice, for those that went “polepole” up the mountain were the ones that made it; and the ones who tried to go too fast eventually burned out long before reaching the top. Mount Kilimanjaro is the tallest mountain in Africa and the tallest freestanding mountain in the world. It had always been a dream of mine to climb to the top. I was going to do it even if “polepole” was not my usual style.

“Kili! Kilimanjaro, Kili! Kilimanjaro,” I hear them sing. Amazingly, the music carries me along as it always has and always will. With this song floating up, down and around the mountain, I am transported to an even higher plane. Because of their perfect music, my once-in-a-lifetime experience is even more spectacular. Eventually, I reach the top. The Kilimanjaro song dies down. The sun comes up. My head is pounding. But like a preying lion, I lift it up and gaze slowly, so slowly around.

The first day seemed pretty easy. It was raining, which made the red clay and rocks very slippery, but I went “polepole” all day. I began at 6,000 feet and climbed to 9,000. I passed several groups of hikers who were coming down the mountain. Every one of them looked completely exhausted. I wondered if I really knew what was in store for me.

It is awesome! With my very own eyes I witness the colorful tapestry that is East Africa—the splendid hills of Tanzania and the dramatic plains of Kenya. I can imagine the herds of wildebeest racing on their annual migration across the Serengeti. In my heart, right over there from the sad slopes of Uganda, I can hear a small child’s voice singing this beautiful and heartfelt welcome song.

The second day I made it to 12,200 feet. I walked out of the rain forest and onto moorland. I even caught a glimpse of the top of the snow-covered mountain peak that was my destination. I wasn’t even close! But “polepole,” I continued.

I’m so excited on the top of the mountain, I feel the joy down in my heart. That is why I’m singing and dancing. You are welcome, we love you our friend.

Day three, I made it to over 15,000 feet. Now let me tell you the fun was wearing off this hike with every step. At 15,000 feet, your body is deprived of oxygen. You get tremendous headaches and feel sick to your stomach. But “polepole,” I kept climbing.

There, on the very top of Africa, music and majesty come together for me and I think, “Isn’t this a beautiful planet? Isn’t this a remarkable day to remember?”

Day four, it’s time to attempt the summit. I leave the hut at midnight and begin the ascent in the pitch dark of night. I feel miserable, but I shuffle along, with my head hanging low, hearing only my own belabored breathing.

Then alas, “polepole,” “polepole” I made my way back down the magnificent African mountainside. —John Jacobson

Ugandan Welcome Song Arranged by EMILY CROCKER

Wel-come friend, I feel the joy down in my j j % j j 4 ‰ ‰ œ & 4 œj œ œ .. œ œœ œ œœ ˙œ œ œ œ œ . œ œ‰ œœ œœ œœ ˙˙ œ œœ œœ J J J œ J

(8 measure introduction) Sing cue notes 2nd time only Joyfully Wel - come friend!

I’m so ex - cit - ed, on the top of the moun-tain.

heart.

& ˙˙

heart.

& ˙ .. ˙

Ó ‰.œ Œ œ œ œ

I feel the joy down in my

j I am danc-ing. j j œ œœ œœ œ œ . Œ œ œœ œ œ œ œ œ. œ œœ œ J J

That is why

j œ œœ œœ œ œ

I’m sing-ing and danc-ing.

(Last time) To Coda

œœ œœ œœ œœ

œœ

œœ œœ œœ

You are wel - come, we love you our

j œ œj œ œ œ œ .. œj œ œj ˙ œ œ 2

friend. You are wel-come, we love you our friend. Yes! I am! I’m so ex - friend. Wel-come friend!

j j j ‰ . j œ œ œ œ œ œ Ó ‰ œ . & ∑ œ œ œ œ œ œ ‰ œ œ œ œ œ œJ œ . Group J My name is Sa- rah* and I’m so ex - cit - ed. I feel the Ry - an* and I’m so ex - cit - ed. } joy down in my heart. j Group Solo j j œ œ œ œœ œ ˙ j & ˙˙ œ œ œ ˙ Œ œ œ œ. œ œ œ œ œ œ. Œ J J You are joy down in my heart. That is why I’m sing - ing and danc-ing. j j œ œ œ j œ œ œ œœ œj œ œœ œ & œ œœ œ œœ œœ œœ ˙ .. œ œ ˙ œ œ

Group Wel - come friend, I feel the

Solo

wel - come,

& œj œ œ

we love

j ˙œ œ œ

fi CODA

friend. Wel

& ˙ .. ˙

friend.

you our

Solo

friend.

.. j œ œ œ œœ is

œœ ˙˙

œœ œœ

you our friend.

we love

you our

j ˙œ œ œ œ œ

D.S. al Coda

friend. Wel

You are welcome, we love

* Substitute any name here

wel - come,

come friend. My name

œ œœ œœ ˙ ˙

You are

come friend! I’m so

ex -

Œ ¿ ¿ ¿ Œ Wel-come friend!

Words and Music by GREG HOLDEN and DREW PEARSON Arranged by JANET DAY

(8 measure introduction)

Lively Country Pop

& C ˙

Hold

& œ œ œ œ œ

un - fa - mil - iar road.

∑

˙. Œ œ

just

% F-f œœ œœ ˙˙ ..

Set-tle down,

& ˙˙

clear.

as we go,

down

˙ this

œ œ œœ

string - in’

œ Œ Ó

œ œ

know you’re

make

And al - though this

‰ œj œ

’cause I’m gon - na

œ Œ Ó

‰ j œ œ œ œ 3

roll

œ œ

wave

œ œ œ œ œ œ œ Œ Ó

& w

˙.

this

a - long,

not

place

a - lone,

your

home.

œœ œœ ˙˙

it - ’ll all

œœ

j j j . . œ . œ œœ . œœ œœ œœ œœ . œœ œœ œœ œ . œ œœ œœ

Don’t pay

no mind to

the

de - mons; they

Copyright © 2011, 2012 Fallen Art Music, Drewyeah Music and CYP Two Publishing This Arrangement Copyright © 2013 Fallen Art Music, Drewyeah Music and CYP Two Publishing All Rights for Fallen Art Music Administered by Songs Of Razor & Tie d/b/a Razor & Tie Music Publishing, LLC All Rights for Drewyeah Music and CYP Two Publishing Administered by Downtown DMP Songs/Downtown Music Publishing LLC All Rights Reserved Used by Permission

j œ . & œ . œœ œœ œœ ˙˙ &

fill

you

down.

& Ó

with fear.

If you get lost,

Just

know

& ‰ j œ œ œ œ

’cause I’m gon - na

& .. ˙ .

1.,3. Oo 2.,4.,5. Ah

& w & w

œ ˙. ∑ Fine

you’re

make this

you

not

Oo Ah

can

œ œ

a - lone,

œ œ œ

you

found.

∑

home.

Oo Ah

œ œ œ ˙ 1, 3, 4

might drag

al - ways

place your

œ ˙.

j œ œ œ œ ˙˙ œ ..

œœ œœ œœ

œ œ œ ˙ ˙.

Trou - ble,

œœ ..

œ œ œ

j j . . œœ . œœ œœ œœ œœ . œœ œœ œœ

œ œ

Œ œ

∑

˙ ∑

D.S. al Fine

Many songs and stories have been based on the heroics of “Bonnie Prince Charlie,” or Prince Charles Edward Stuart (1720-1788), who led a rebellion in Great Britain in 1745 ending in the Battle of Culloden. After that battle, he was forced to flee Scotland and live in exile.

RHYTHM PRACTICE You can learn to read the songs by first counting in the compound meter of 6/8. There are two beats in each measure and each beat can be divided into 3 eighth note divisions. Practice the following exercise by clapping or chanting the rhythm:

6 8 œ. œ

œ.

j œ œ

œ œ œ œ œ œ œ.

j œ œ.

œ.

œ œ œ œ.

œ.

œ œ œ œ.

PITCH PRACTICE Sing the following pitch exercises by reading in solfége as a group or by echoing your teacher:

# 61 & 8 j.

# 3. & , j.

j. -.

-. j.

/. -.

.. -.

SING Sing each song separately and then combine in the form given at the bottom of the page.

CHARLIE OVER THE OCEAN (10 measure introduction)

Dance-like

#6 & 8œ

1st time: Solo or Pt. 1 2nd time: Group or Pt. 2

# . & .œ

j œ œ œ œ

Char - lie

j œ œ

o - ver the

j œ œ.

Char - lie caught

#6 & 8 œ.

# & œ.

Char

œ. o

big

.. .. œ

œ.

cean,

j œ œ œ œ

Char - lie

.. .. œ .

œ.

fish.

Can’t

o - ver the

œ.

lie,

œ.

Char

œ.

Char

# 6 > & 8 œ

Part 1

Can’t

# 6 >œ & 8 Part 2

Can’t

œ.

lie,

catch

lie,

j œ. œ

the

brave

‰ œ >

‰

catch

œ > catch

œ. >

me!

œ. >

me!

gren

Œ. Œ.

sea,

œ.

me.

j œ œ

Char - lie

œ.

CHARLIE IS MY DARLING

œ.

j œ œ.

dar

j œ ˙.

a - dier.

œ.

ling.

.. ..

Hop ’Til You Drop

JUMP IN! Words and Music by John Jacobson and Roger Emerson

CHORUS Jump in! (Everyone’s here!) We’re gonna rip and run and fly real high. Jump in! (Kick it in gear.) It’s time to flip for fun so give it a try! Now’s the day we all jump in!

VERSE 1 Every day you give your all. Stand up straight and stand up tall. With your friends right next to you, You know just what you should do …

VERSE 2 There’s no need to be afraid. Come and join this jump parade. We’ve got lots of hills to climb. Here’s the place and now’s the time …

CHORUS Jump in! (Everyone’s here!) We’re gonna rip and run and fly real high. Jump in! (Kick it in gear.) It’s time to flip for fun so give it a try! Now’s the day we all jump in!

CHORUS Jump in! (No need to hide.) We’ve got a brand new day with nothing to fear. Jump in! (Give it a ride.) Now with a big bright smile stretching ear to ear. Now’s the day we all jump, Now’s the day we all jump in! We’re jumpin’ in! Copyright © 2013 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved

How will you jump into school this year?

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